[Update: Apocalypse in Pink part 2 is out now]

Before Barbenheimer, there was “Apocalypse in Pink,” the August 1983 theme of fashion/culture magazine SPECTAGORIA. The issue’s controversial imagery of Barbie-esque models attempting to stay gorgeous and glamorous amidst nuclear annihilation sought to, in the words of editor/photographer Sera Clairmont, “revel in the morbid absurdity of the new American condition,” an “anxiety vibrating underneath all our plastic smiles.”

“It’s The Hot Pink Cold War,” Clairmont wrote in her introduction. “It’s ‘Material Girl’ on the radio and ‘WarGames’ at the drive-in. It’s ‘Girls Just Wanna Have Fun’ interrupted by the emergency broadcast signal. We’re told to look sexy, dress fashionable, make money, and spend money, but be sure we’re just the right amount of terrified about the bomb. Get that Malibu dream home, keep working on that perfect body, sip cocktails by the pool in your little pink bikini and watching the stocks go up — but STAY VIGILANT! and for God’s sake vote Republican, because that dream home could melt into a pink plastic inferno at any given moment. Just don’t stop smiling as the blast liquefies your skin into bubbling ooze like a Barbie doll in a microwave - it’s bad for the economy.”

***Continued in PART 2***

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NOTE: This is a work of fiction created by me. This alternate reality horror story is part of my NightmAIres narrative art series (visit that link for a lot more). NightmAIres are windows into other worlds and interconnected alternate histories, conceived/written by me and visualized with synthography and Photoshop.

If you enjoy my work, consider supporting me on Patreon for frequent exclusive hi-res wallpaper packs, behind-the-scenes features, downloads, events, contests, and an awesome fan community. Direct fan support is what keeps me going as an independent creator, and it means the world to me.

”Wendy, I’m Home” | Photographer: Dorian Ulisses

my work

link to purchase/website

Eiko Ishioka costume design for The Fall (2006)

Tim Curry in The Rocky Horror Picture Show, 1975

DANA DENTATA for Office Magazine

Bat Jacket by Jean Louie Castillo 2022

Day 14 of 31 Days of #horroecoutour: The Lost Boys

Alexander McQueen’s Joan of Arc themed autumn/winter 1998 show.

from HUMMER mv by MEATY

Robert Wun Couture ss24

One year ago, my "Meat Gala" AI body horror fashion series, imagining demons from Hell attending the MET Gala, went wildly viral on social media (here's a Buzzfeed article/interview with me about it)

My subversion of the event's elite glamour with nightmarish gore that commented on the grotesque opulence of the 1% really resonated with people, and as the first AI horror art to go viral in this way it was the first exposure many people had to the dark side of what was possible with AI imaging. It also led a lot of very angry Christians who inexplicably thought it was real (enjoy the comments here and here), and it also led to terms like "body horror," "flesh," and even "Cronenberg" getting banned from MidJourney (I didn't even use the term "Cronenberg" in my prompts), sealing the work in a liminal space in AI art history, unable to be recreated or continued. Of course it didn't slow down my AI horror journey, and the spirit of this work - both visually and in out-of-control viral impact - continued this year with my Valentine of the Flesh body horror fashion series.

This series is also special for me because of the subsequent conversations I had with MidJourney's DavidH in which I argued against their censorship of horror art, and he revealed a depressingly vanilla view of "art" and "beauty" that he sought to curate with his platform. What I had discovered, first with VIIR and then with The Meat Gala, was that the algorithmic opinion towards artistic beauty which made MidJourney at the time leagues ahead of previous AI art tech, could be subverted to make stunning and wholly unique horror art. The elegant way those early versions of the software blended elements together like surrealist paintings was meant to ensure that any prompt result gave you something that looked like beautiful art, but what I found is that if you pointed it in the right direction, it would do the same thing with blood and flesh and bones and tentacles, to spectacular uncanny horror effect. In the case of The Meat Gala, the effect was even more potent, as elements of demonic body horror gore were twisted through lenses of beauty, glamour, and opulence. To me, I was making beautiful surreal nightmares, and I was floored with the potential I saw and the ideas it gave me. But David and the other MidJourney creators saw nothing but a perversion of their software. They were, in fact, shocked by my Meat Galaseries and worried that its viral spread was giving the wrong public impression of MidJourney before it had even officially launched. They didn't know their software could make something like that, because they didn't have the type of minds that had ever even thought to try.

In that moment, when I genuinely surprised and upset the creators of the software, I was able to let go of the nagging feeling I had that "I didn't really make this, the software did" and feel true ownership over my AI work. After all, if the creators of the software didn't even know such art was possible, it went against everything they created the software for, and they rushed to try to prevent it from happening again, then I had truly made something unique to me as an artist, that would have never existed from anyone else. It was a new type of creation, but a very real and personal creation nonetheless.  As much of a bummer as it was to find out the creators of the coolest horror art tool I'd ever encountered actively hated horror art, I was empowered and inspired to see what else I could pull out of each new liminal phase of a rapidly-progressing technology.

The Meat Gala series also led to a very cool art collaboration, resulting in something new I'm very excited about that I'll be announcing Monday May 1st, the day of the 2023 MET Gala. Stay tuned!

listed a new vest to my etsy shop!!  i made almost all of the patches and hand stitched everything on! its horror themed, and can be farther patched or left as-is!

for those unaware my clothes are available in a full range of mesh tones! with the majority of my pieces available in sizes XXS-XXL :)

shop link here !

The Texas Chainsaw Massacre, 1974.

Online Ceramics x A24 Pearl “Bloody Crew” pullover